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Re: ïÔ×ÅÔ: [thewire] Re: Luc Ferrari

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  • Ryan Whitehead
    On the energizer point, you re right-on (well ... I d probably put Xenakis a notch ahead). Wasn t it Autechre a couple of years ago who sung the praises of
    Message 1 of 2 , Oct 1, 2001
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      On the energizer point, you're right-on (well ... I'd probably put Xenakis a
      notch ahead). Wasn't it Autechre a couple of years ago who sung the praises
      of Ferrari and Parmegiani in the "year in review" issue? I remember them
      saying something adroit like "fuckin' 'ell." Which is, at moments during De
      Natura Sonorum or Concret PH, the only appropriate response.

      I've always found there to be something creaky and precious about Pierre
      Henri's work ... not creaky like dada, a bachelor machine or some similar
      contraption ... but rather, the creak of an anachronism, something
      thoroughly surpassed by what it has influenced. I came to "enjoy" Henri's
      work by thinking about it, about the situation out of which it was born(e),
      what it spawned--Ferrari, Parmegiani, and Xenakis never required that ... I
      have this feeling that their work is more event-like whereas Henri's is more
      object-like.

      Ryan

      >From: "������� ����" <dmituhov@...>
      >Reply-To: thewire@yahoogroups.com
      >To: <thewire@yahoogroups.com>
      >Subject: �����: [thewire] Re: Luc Ferrari
      >Date: Tue, 2 Oct 2001 08:05:47 +0300
      >
      >Why is
      >he important?
      >------s
      >Talent- isn't it enough?
      >But, seriously, Ferrari's composition"Visage V" was the only one in the
      >2-LP collection of Experimental music (en dof the 50-s-beginning of the
      >60s)
      >which was not musique CONCRET, but MUSIQE concret in this distinctive
      >collection (with the forward by a very famous structuralist Abraham Moles)
      >of pioneering efforts in both the field of musicque concret and earlier
      >electronic music.
      >Well, add also Pierre Henri's Entite and Xenakis Orient=Occident? but
      >Ferrari continued to develop "dadaism" in the witty "Und so weiter" for
      >keyboards and tape,sort of parallel to Captain Beefheart and Frank Zappa in
      >the field of expereimantal sound-making.
      >I was always wonderinf why this was Pierre Henri who was reknowned among
      >rockers not Ferrar (of course, Henri used rock'n'roll in his works and was
      >listed in on the cover of a Spooky Tooth album).But ferrari was(is?) the
      >real energizer.
      >dmitri
      >
      >
      >
      >
      >
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    • Guillaume Grenier
      ... Not to get in a flame war, but, come on, something thoroughly surpassed by what it has influenced ? Certainly not surpassed by Ferrari... Much as I love
      Message 2 of 2 , Oct 2, 2001
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        On 02/10/01 00:44, Ryan Whitehead said in living color:

        > I've always found there to be something creaky and precious about Pierre
        > Henri's work ... not creaky like dada, a bachelor machine or some similar
        > contraption ... but rather, the creak of an anachronism, something
        > thoroughly surpassed by what it has influenced.

        Not to get in a flame war, but, come on, "something thoroughly surpassed by
        what it has influenced"? Certainly not "surpassed by" Ferrari... Much as I
        love "Presque rien" (IMO, his strongest work... from what I've heard -- but
        I've heard many of them), it does not approach the power of evocation of,
        say, "Apocalypse de Jean".

        As a matter of fact, few works of the "musique concrète tradition" approach
        the level of l'Apocalypse, let alone surpass it. The only one that comes to
        mind to me is "De Natura Sonorum".


        <Honey, where's the asbestos suit?>

        g.

        --
        Guillaume Grenier - gollum@...

        in space there is no north in space there is no south
        in space there is no east in space there is no west
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